Below is a list of composers currently represented on this Web site. Clicking on a composer's name will bring up a list of madrigals available to be downloaded. Three downloads are available for each madrigal: Score (in PDF format), MIDI (.mid) and Text/Translation (also in PDF).

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Note that, in the case of madrigals in multiple sections, the full Text/Translation may be downloaded from the entry for the first section (the prima parte).

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Aleotti, Vittoria
Arcadelt, Jacques (Giaches)
Artusini, Antonio
Bati, Luca, Primo a 5 (1594) (complete)
Bellasio, Paolo
Bertani, Lelio
Boschetti, Giovanni Boschetto
Caletti, Giovanni Battista
Califano, Giovanni Battista
Capilupi, Gemignano
Casentini, Marsilio
Cavaccio, Giovanni
Cifra, Antonio
Costa, Gasparo
Croce, Giovanni
D'India, Sigismondo
Dalla Casa, Girolamo
Del Mel, Rinaldo
Dentice, Fabrizio
Falcone, Achille
Felis, Stefano
Florio, Giorgio
Freddi, Amadio
Gabrieli, Giovanni
Gagliano, Marco da
Gastoldi, Concenti musicali a8 (1604/1610) (complete)
Gastoldi, Giovanni Giacomo
Gastoldi, Primo a 6 (1592) (complete)
Gastoldi, Quarto a 5 (1602) (complete)
Ghizzolo, Giovanni
Giovanelli, Ruggiero
Guami, Francesco
Guerini, Pietro Francesco
Ingegneri, MarcAntonio
Isnardi, Paolo
Leoni, Leone
Mancini, Curzio
Marenzio, Luca
Masnelli, Paolo
Massaino, Primo a 6 (1604) (complete)
Massaino, Quarto a 5 (1594) (complete)
Massaino, Terzo a 5 (1587) (complete)
Mezzogorri, Giovanni Nicolò
Monteverdi, Claudio
Mosto, Giovanni Battista
Nasco, Giovan (Jan)
Nodari, Giovanni Paolo, Madrigali a 5 (complete)
Pallavicino, Benedetto
Rognoni Taeggio, Francesco, Primo a 5 (1613) (complete)
Rognoni Taeggio, Giovanni Domenico, Primo a 5 (1605) (complete)
Rore, Cipriano (De)
Rossetti, Stefano
Rossi, Salamone
Ruffolo, Lucrezio
Sabino, Ippolito
Santini, Marsilio
Stabile, Annibale
Taroni, Antonio
Tomasi, Biagio
Tresti, Flaminio
Tresti, Secondo a 5 (1587) (complete)
Usper (Spongia), Francesco
Valmarana, Girolamo
Various (from Dolci Affetti, 1582)
Various (from Trionfo di Musica, 1579)
Vecchi, Orazio
Venturi del Nibbio, Primo a 5 (1592) (complete)
Venturi del Nibbio, Primo pastorali a 5 (1592) (complete)
Verdonck, Cornelius
Virchi, Paolo, Primo a 5 (1584) (complete)
Virchi, Paolo, Secondo a 5 (1588) (complete)
Wert, Decimo a 5 (1591) (complete)
Wert, Giaches de
Wert, Ottavo a 5 (1586) (complete)
Zanchi, Liberale
Zanotti, Camillo
Zoilo, Annibale

Virchi, Paolo, Secondo a 5 (1588) (complete)

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Title and DescriptionScoreMidiTranslation
Introduction and Commentary
Summary: Virchi’s Secondo libro a 5 is in many respects a continuation of the Primo libro, although the pieces exhibit fewer clear-cut links to the court of Alfonso II d’Este. See the full text of the introduction (downloadable from the Translation column) for further details and for information about the dedicatee, Alessandro d’Este.
S'io miro voi talmente (SATTB) *NEW*
In praise of a woman, the beauty of whose eyes is matched by the sound of her voice. Although the text does not explicitly state that the woman is a singer, the presence of several pieces in Virchi’s Primo libro a 5 in praise of Laura Peverara and other virtuose at the court of Alfonso II d’Este would suggest that one of these women is the intended love-object.
Ecco sul Tauro a rivederci torna (SATTB) *NEW*
A celebration of rustic springtime.
Meraviglia non è che il bel sereno (SSATB) *NEW*
A distinctive and idiosyncratic poem, which characterizes a woman whose narcissism prevents her from reciprocating, or even acknowledging, the protagonist’s love.
Questo bel mirto (SSATB) *NEW*
The protagonist makes an offering of myrtle and flowers to his “goddess,” in the (probably vain) hope that his love will be requited.
Voi bramate ben mio (SSATB) *NEW*
A setting of a poem by Tasso, to the effect that his love-object’s ill-will is likely to backfire. The text was also set by several other composers, including Croce, Il Verso and Schuyt.
Partisti anima mia (SSATB) *NEW*
The protagonist describes the devastating effect of the departure of his love-object, and a fervent wish that her return will restore him.
S'armi pur d'ira in voi (prima parte of 2) (SATTB) *NEW*
A setting in two parts of a sonnet by Guarini, in which the protagonist casts himself as a wronged yet steadfast lover, leaving one to wonder if the love-object is worth the trouble.
Quel ch'in tanti anni (seconda parte) (SATTB) *NEW*
Amor che qui d'intorno (SSATB) *NEW*
The poet appeals to Cupid to carry a message of boundless suffering to his lady-love.
Questa vita mortal (SSATB) *NEW*
A setting of a poem by Guarini, subtitled “umana fragilità” (human frailty), which offers a rather melancholy meditation on the human condition.
Voi caro ben mio partiste (SATTB) *NEW*
Another poem describing the protagonist’s misery upon the departure of his beloved.
Bevea Fillide mia (SSATB) *NEW*
A love-object’s drinking-glass becomes the agency through which Cupid works his capricious magic.
I vostri sguardi e le parole e 'l riso (SATTB) *NEW*
The protagonist is so transported by the glances, words and laughter of his love-object that he feels his life coming to a beatific ending.
Signor che fai nel mio profondo seno (prima parte of 2) (SATTB) *NEW*
A peculiar and somewhat ambiguous text that mixes sacred and profane imagery, but which evidently expresses the sentiment that the bond between the protagonist and his love-object is so strong that even Cupid’s works are feeble by comparison.
Tu non ardisci erger al ciel lo scettro (seconda parte) (SATTB) *NEW*
O dolci lagrimette (SATTB) *NEW*
A keepsake handkerchief evokes bittersweet memories and pangs of separation.
Addio Titiro disse (SSATB) *NEW*
A “lovers’ parting” dialogue, featuring stock pastoral characters. The piece had appeared a few years earlier in the anthology I lieti amanti, and Virchi included a similar specimen of the subgenre (“Dolce Amarilli, addio,” q.v.) in his Primo libro a 5.
Tante piaghe ha 'l mio core (SSATB) *NEW*
A lover’s lament that his heart has as many wounds as Cupid has darts.
Di queste vaghe Dee (SSATB) *NEW*
A virtuosistic and engagingly energetic piece. The reference to the river Po suggests that the personages which the text extols are Ferrarese, probably members of the court of Alfonso II D’Este, and conceivably members of the concerto delle donne.
Mentre la Dea di Gnido (SATB SATB) *NEW*
Mention of the river Mincio places the action of the tale in Mantua, and presumably in the early years of the reign of Duke Vincenzo II Gonzaga (ruled 1587−1612). Furthermore, the theme of Cupid vanquished in love suggests the legend of Cupid and Psyche, the theme of one of the most lavishly frescoed rooms in the Palazzo Te, a splendid villa located in Mantua’s outskirts. As it happens, shortly after his accession, Duke Vincenzo installed his mistress, Agnese Argotti del Carretto, in the Palazzo Te, where she presided over a kind of second court. It does not seem unreasonable to speculate, therefore, this this sonorous double-choir piece is intended as a tribute to Agnese Argotti.

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